The CinePhilo youngsters will be presenting "The five obstructions" by Lars Von Trier and "Benny’s Video" by Michael Haneke in March.

Cinema Massimo – 14 and 27 March 2018, 5.00 p.m. – Screen Three

Double rendez-vous in February with the showcase organised by the CinePhilo university group, from the Philosophy Faculty of Turin University.

What sort of relationship is there between cinema and reality? and viceversa, between reality and cinema? These are only a few of the questions that will be floored during the third edition of this showcase organised by the CinePhilo group, which will explore some examples of cinema placing itself on show, staging itself in different manners: from fiction films to the documentary, to the mockumentary. A debate will follow each screening, with speaker experts in this sector, ho will endeavour to shed light each time some aspects of meta-cinematography in conversation with the public.


Wednesday 14 March at 5.00 p.m. will see the screening of The five obstructions by Lars Von Trier. To follow, meeting with prof. Silvio Alovisio (Cinema and audiovisual communication) and prof. Riccardo Fassone (History and theory of video-entertainment formats). The short-film Det perfekte menneske (The perfect human, Dk 1967, 12’, b/w, o.v.) by Jørgen Leth will also be screened.

Tuesday 27 March at 5.00 p.m. will see the screening of Benny’s Video by Michael Haneke. To follow, meeting with prof. Enrico Terrone (philosopher) and prof. Antonio Santangelo (Semiotics of television).

Admission 6.00/4.00/3.00 euro.


Lars Von Trier

The five obstructions (De fem benspænd)

(Denmark 2003, 90’, video, col., o.v. it.s/t)

Lars Von Trier meets his friend, filmmaker Jørgen Leth and dares him to a novel challenge: shooting five variations of The perfect human (1967), an old short-film of his. For every variation, Leth will have to respect the strange criteria imposed by his friend, facing each test in a crescendo of difficulty. A challenge which Leth accepts with professionality, making five shorts embracing a broad conceptual and stylistic spectrum. Not only a successful experiment, but a profound reflection on making cinema.


Michael Haneke

Benny’s Video

(Austria/Switzerland 1992, 105’, video, col., o.v. it.s/t)

Benny, a teenager in a middle-class family, passes his time shut up in his room, observing the world through cameras, televisions, videocassettes and films of every kind. Immersed in a solitude made up of recorded images and sounds, Benny secretly nurtures the project of filming death. Haneke’s second film, reflecting on the relationship between reality and representation, where the latter ends up by getting the upper hand, revealing itself more suitable for a mankind that is incapable of solidarity and authentic emotions by now.